texts: Currently residing in Norway, <mask> is an Iranian poet and journalist. She is a Women's Rights activist who is fighting against the death penalty in general and against the stoning of women in Iran. <mask> grew up in northern Iran. She was one of four sisters. Her family came from feudal times. The father was a teacher. <mask> and her sister spent a lot of time together.She was visiting a poetry circle at the library. <mask> would like to become a painter or writer. After the Iranian Revolution, <mask>'s life changed. She cried when she put on the black hijab that she hated. She was told by her mother that no one could disobey it. <mask> studied journalism at Tabataba'i University in Tehran. She began writing for newspapers while still studying.She moved to the larger newspaper Iran. <mask> took a poet along with him when he was supposed to interview her. She was invited into the writer's circle by the poet. <mask> became the cultural editor of the newspaper Iran. For these times in Iran, a woman is in a senior position. The bans were lifted when Mohammad Khatami was elected president in 1997. Women are entering journalism.<mask> had a job at the newspaper that covered women's affairs. <mask> took on the job despite her opposition to segregating news by gender. The newspaper was banned. <mask> took on work on his own. <mask> became the social editor of the newspaper after giving birth. She ran a website called Women in Iran. The situation in Iran became too dangerous for her after the presidential election in 2009.<mask> left the country. She became a guest writer in the ICORN network in Norway from 2010 to 2012 thanks to a friend. She obtained a master's degree in Equality and diversity at NTNU. <mask> is a member of the board. The 'Stop Stoning forever Campaign' was founded by <mask>. Two writers from outside the country and a well known feminist from Iran were part of the group. She is campaigning for an end to stoning as a form of execution in Iran.She began her activism when she met a girl named Atefeh who had suffered a lifetime of sexual abuse. She was sentenced for extramarital sex to death by stoning after being abused and turned to sex work. <mask> wanted to investigate the practice of stoning. She discovered that despite Iran's commitment to the international community to abolish the practice stoning were still going on in secret. Iran's chief justice halted the practice of stoning in 2002. <mask> was fired from her newspaper after trying to publish her story. The editor-in-chief of the newspaper said it was impossible to publish the story because she was fighting the Iranian judicial system.The story was sent to another newspaper. A women's publication agreed to publish an edited version after a long search. Leyla, a nineteen-year old with a mental age of eight who was supposed to be hanged for chastity, was heard of again after the story of Atefeh <mask> was published. <mask> decided to help the girl after she found out that she was still alive. The girl was put out for prostitution at a young age by her mother. Her mother lived from the money. Leyla was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217She was sentenced to death for incest, as her brothers had raped her. The judge who sentenced Leyla told <mask> that he was just applying the law. Leyla was a worm if the society was an apple. Leyla was the subject of a story written by <mask>. The story spread around the world. The Norwegian prime minister wrote a letter to the Iranian president. Leyla had a second trial.Leyla was put in a social organization that provided her with private lessons and helped her to learn to read and write, thanks to the help of <mask> and her human rights attorney. <mask> was arrested and imprisoned. <mask> founded a campaign after this experience. She fights to have the practice of stoning stopped, researches cases of women who have been sentenced to death by stoning, and shares their stories with the public. The situation of human rights activists in Iran became dangerous after the re- election of the president. <mask>'s phone calls and e-mail messages were monitored. <mask> went to exile after the election.She was a contributor to the newspaper in Norway. She was a guest writer in the City of Refuge. Javad Montazeri was a photographer who came from the Mazandaran region. They decided to get married after eight months. She continued to work after giving birth to her daughter. When she became pregnant for a second time, she tried to take medicine that would cause her to lose her baby, which would make it possible for her to go to the hospital and have the baby removed. Iran has an abortion law that is illegal.<mask> thought that she had damaged the fetus when the medicine didn't work. She was able to return to work after having an illegal abortion. The UNESCO office in Tehran won the Best Iranian Poet award in 2005.

masks:
Asieh Amini
Amini
Amini
Asieh
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
Amini
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Amini


type: paraphrased

texts: <mask> was a Greek military officer-turned-actor who was known in France as <mask>s. <mask>'s characterisation is not positive. His handsomeness was just as important as his Don Juan quality. He was described as an opportunist and hedonistic person, whose marriage to the great diva would inevitably intensify and maximize his vices, such as alcohol, and drugs. <mask> was born in Greece in January of 1854 to an aristocracy. He was the second of three children to <mask>, a wealthy shipping magnate who later served as mayor of Ermoupoli and Piraeus. The other two children of Calliope were a son and daughter.After Ambrosios was appointed mayor of Ermoupoli, the family relocated to the island. The family went back and forth between the two places. After finishing school in Greece, <mask> went to England and France to pursue diplomatic studies. Since he had a dream of becoming an actor one day, he became acquainted with representatives of high society as well as representatives of the theatre world during his time abroad. He joined the army after returning to Greece. He decided to return to Paris after dropping his studies in Russia, where he was trained in the Page Corps. He was a military attache to the Greek Diplomatic Corps.He quickly gained a reputation of being the handsomest man in Europe, as well as the nickname "Diplomat Apollo" by his friends and the assumption of being the most dangerous man in Paris, among several husbands who feared their wives would fall victim to his charms. Many women of the high society of Paris were enamored with <mask>, who was considered to be the epitome of handsomeness. He quickly earned the reputation of being a womaniser of the high circles. He enjoyed the company of young men, as well as his passion for women. His affair with the wife of a Parisian banker had ruined her reputation and forced her to leave France. He was said to have driven two women to divorce and one to commit suicide. One of his documented affairs was with the young daughter of a Vaucluse magistrate who had left her parents and home to follow <mask> to Paris, where he deserted her when their illegitimate child was born.The young girl is presumed to have committed suicide after she was never heard from again. <mask> was sent to Russia after the scandals. Prior to his transfer, he was introduced to Sarah Bernhardt by her half- sister. A group of well-known morphine-takers were associated with the stage world. <mask> had begun playing small parts as an amateur actor with the stage name "Daria", and used to frequent the green rooms of theatres, along with fellow actors who shared a similar passion for morphine. He frequented these places to meet people from the theatre world and promote his ambitions of becoming a great actor. Bernhardt was repelled and fascinated by the perspective of meeting the most notorious man in Paris.The meeting was highly anticipated by both parties. It was inevitable that Sarah Bernhardt and <mask> would eventually meet, according to Madame Pierre Berton, who wrote a biography for her. Their reputation was only whetted by the fact that they both prided on their ability to conquer men and reduce them to the level of slaves. The two met. Even though she was appalled by <mask>'s behavior, she was still attracted to him and fell in love with him. She decided to stay in Russia for six months because she was about to start her world tour and she wanted to meet <mask> again. She resided in Saint Petersburg for a few months as an official guest of Emperor Alexander III of Russia, during which her romance with <mask> flourished.The social circles of the city were shocked by the openness of their affair. The match was not a good one. <mask> would ridicule and mock Bernhardt in front of her friends. He was called "Gypsy Greek" in an attempt to degrade him. <mask> had the upper hand in the relationship due to the fact that Bernhardt was overwhelmed by her love for him and begged him for forgiveness. <mask> followed Sarah's theatre circle after she resigned from the Diplomatic Corps. After completing the final part of her tour, Bernhardt had yet another fight with <mask>.The role of Victorien Theodora was supposed to be created by Bernhardt. She sent a telegram that said, "I am going to die and my greatest regret is not having created your play." Adieu. A few hours later, he received a second message which said "I am not dead, I am married". She said that it was the only thing she had never done when she was asked why she had wed. <mask> jokingly admitted to friends that it was she who proposed to him, as her impulsive decision to marry was probably at her own initiative. The wedding took place in London, a city that was convenient for marriage since religious differences wouldn't have been a problem in Paris.Maurice was against this marriage and hostile to <mask>. Even though <mask> was presented to reporters with the phrase "This ancient Greek god is the man of my dreams", the marriage became the object of criticism and even satire. Newspapers were flooded for months by caricatures of <mask> and Bernhardt. A review of Les Mres Ennemies featured Bernhardt manipulating <mask>'s limbs. He was even more unfaithful because of <mask>'s marriage to Bernhardt. He had a fight with Bernhardt three weeks after the wedding when he insisted that she change her stage name to honor him. He left the house after she refused.He was missing for a few days and was seen in the company of a young Norwegian girl. Sarah accepted his excuses. The tour ended in Ostend. At their last night there, <mask> fled again and was heard from two days later in Brussels with a Belgian woman. He was forgiven by Bernhardt when he came back. She was humiliated by giving money to <mask> so as to pay his mistresses and debts to prostitutes, but the lovelorn Benrhardt didn't mind. <mask> decided to pursue an acting career after they returned to Paris.The Thétre de l'Ambigu was bought by Bernhardt and he appointed Maurice as the manager and <mask> as the leading man. Her friends couldn't comprehend what she saw in him. She decided to perform next to a rank amateur because of her decision to discard professional actors. <mask> has been described as untalented, lacking any acting qualifications, technique, or timing, and having an unintelligible Greek accent. On the basis of her attraction for him, she cast him in La Dame aux camélias (The Lady with the Camelias) and considered him appropriate. Is it possible that <mask> will make an excellent Armand? You can understand why Marguerite Gautier dies the way she does by looking at him.La Dame aux camélias was performed by the couple back in Paris. <mask>'s performance received less enthusiastic reviews than Sarah's. <mask> blamed Bernhardt. In December of 1882, Bernhardt opened and received good reviews. <mask> was not allowed to act in the play because it was written for her. <mask>'s lack of skills in managing made the decision to appoint her husband manager disastrous. He was reduced to Prince Consort after being removed from his post.<mask>'s frustration over the way his career developed caused him to continue humiliation of Bernhardt in front of her friends. Their marriage was affected by his addiction to drugs. <mask>'s drug use became scandalous. <mask>, who was on stage with Bernhardt, tore down her dress and exposed her bare buttocks. <mask> responded with his own accusations after Bernhardt refused to cover his expenses on women and drugs. Without warning, <mask> left for North Africa. He decided to serve in the spahi troops in Algeria because he thought he would never be seen as more than "Mr Sarah Bernhardt".<mask>'s addiction to drugs and prostitutes as well as her son's gambling left her with debts. She went on a tour with her lover, playwright Jean Richepin. <mask> was living in her house again after she returned to Paris. The marriage deteriorated further due to <mask>'s drug addiction and the final separation was to come. Allegedly, Bernhardt came off the stage earlier than she had finished her part because she was so distraught over her husband. She put him into a clinic after moving him out of the house. He came back to her house six months later.He was put to a clinic and a hotel in the outskirts of Paris after he tried to prevent the pharmacy from giving him drugs. The marriage was legal until <mask>'s death in 1889. In return for certain sums she sent to him on a monthly basis, he would never re-enter her life, since she was very strict with her Catholic views. After his separation from Bernhardt, <mask> tried to return to the diplomatic world. He remained in the acting profession despite his difficult re-entrance in the diplomatic profession. He played Philippe Berlay opposite Jane Hading in the stage adaptation of Matre de Forges, the most memorable role of his career. The play ran through the entire year in the Thétre du Gymnase.In the following years, <mask> starred in many productions. He played the leading man in the stage adaptation of Alphonse Daudet's novel, Sapho, murs parisiennes, with Hading as his partner. The play opened in Paris. La Comtesse Sarah was a stage adaptation of an Ohnet novel. Following his separation from the great diva, <mask> was forgotten or even ignored by the Parisian society. In March 1889, after a year in Europe, Bernhardt returned to Paris and received a message from <mask> who begged her to forgive him and take him back. The fact that she had never stopped loving and caring for her husband was proved when she abandoned her performances in Paris, rushed to him and nursed <mask>, whose health was wasted as a result of his addiction.After he recuperated, she cast him as her leading man in La Dame aux camélias. <mask> embarked on a European tour with Bernhardt after she promised to stop taking morphine. <mask>'s addiction to drugs became worse. His clarity was reduced from using the drug and he ridiculed himself. He was naked in the Hotel de Ville in Milan and almost got arrested. <mask> reprised his role as Armand but after six weeks he collapsed and was taken to the hospital. Before his death, he was offered a role in a play by Bernhardt.After the second performance, he was considered incapable of playing the part due to his lack of clarity and constant influence from alcohol and drugs. <mask> fathered a child with one of his mistresses, who used to inject him with heroin, in early 1889. After his mistress gave birth to a baby girl, she put the baby in a basket and wrote a note on his doorstep. The illegitimate daughter of <mask> was placed in the care of a woman who contemplated having the baby drown. Due to his deep addiction, Bernhardt was unable to contemplate the situation when his servants tried to notify <mask> of his child. Sir Basil Zaharoff, a gun dealer and future tycoon, proposed to take the child so that he could find a surrogate family for her, which saved her life. The girl was raised in Adrianople in Eastern Thrace.The adventures of <mask>'s daughter, who had brief affairs with Ernest Hemingway and Gabriele D'Annunzio and posed as a model for Picasso in the early 1920s, were documented by Fredy Germanos in his historical novel Teresa. <mask>'s Parisian life is mentioned in the book, as well as the fact that Bernhardt remained in love with him until the end of her life. Years later, Teresa and Bernhardt met each other. Death <mask> was found dead in a Paris hotel room from an overdose of drugs. The news of his death was not made public until after she finished her performance. "Well, so much the better..." is what she said when she found out. After <mask>'s death, Bernhardt wore mourning clothes.She legally adopted his name. Even after her husband's death, Sarah never abandoned it. She kept her legal name, <mask>, even though she was refused a visa due to the fact that she was Greek. It took the intervention of the Minister of Interior to get her a visa. He has been portrayed by three actors. He was portrayed by John Castle in The Incredible Sarah in 1976, by Jean LeClerc in the TV movie Sarah in 1976, and by Gonzalo Vega in the Mexican TV series La Divina Sarah in 1980. Eirene was his younger sister.In his scandalous autobiography, Frank Harris said that he had a brief affair with an Irish-born American author. The <mask> family lived at the Hotel d'Athnes in Athens in the summer of 1880. Harris and Eirene <mask> had a brief romantic/sexual affair, which Harris describes very graphically in his book. Eirene's Scottish husband left her and returned to England. When Harris and Aristides <mask> met again in Paris, they became even closer friends. <mask> responded "Madame, you will never again have the opportunity of calling me names" when Bernhardt publicly lashed out against her husband. He went back to Paris.Harris was begged to intervene by a disconsolate Bernhardt who broke off the tour and returned to the French capital. Harris was told by <mask> that he was a great talent, but a small nature and a foul tongue. The stage credits for La Dame aux camélias and Matre de Forges were written in the early 20th century. The performance in Paris was a great success. There are references to births and deaths of military personnel from Greece to France.

masks:
Jacques Damala
Aristides Damala
Damala
Damala
Ambrosios Damalas
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
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Damala
Damala
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Damala
Damala
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Damala
Damala
Damala
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Damala
Damala
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Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala
Damala


texts: <mask>. The founder of the Marine Corps Scout Sniper School was a decorated United States Marine Corps officer named "Dick" <mask>. He was awarded the Silver Star for his heroic actions during a firefight in 1967. On April 9, 1936, <mask>. was born. His father was a guard at the Federal Penitentiary and lived on the island with his family. The first child to be born on the island was <mask>. His father was a retired Marine Corps lieutenant colonel who had served in the Banana Wars and in China.He completed his high school education after his family moved to Virginia. At the age of 17, he enlisted in the Marine Corps. He was a member of the Marine Corps Reserves after graduating from the Virginia Military Institute. At the National Matches, he was on the Marine Corps Reserve Rifle and Pistol team. His bachelor's degree was in physics. He received a master's degree in physics. On November 11, 1958, <mask> enlisted into the US Marine Corps.He was commissioned as a Marine Corps second lieutenant after attending Officer Candidate School. The Vietnam War had two combat tours. He was wounded on his first day in combat and was awarded the Purple Heart. He led patrols after recovering. He served as a company commander in the infantry. While serving as the commanding officer of H Company, 2nd Battalion, 3rd Marines, in Vietnam, he was awarded the Silver Star for his actions on July 21, 1967, during a firefight with a North Vietnamese Army company. He exposed himself to fire several times, rallied his Marines, coordinated fire and medevacs, called in air support, and forced the enemy to break contact after suffering numerous casualties.There was a second tour to Vietnam from 1971 to 1972. The Marine Corps formed a permanent scout sniper program after the Vietnam War. Major Edward James Land, who was Culver's commanding officer in Vietnam, helped form and was the first commander of the first Marine Corps Scout Sniper School. Carlos Hathcock was the senior NCO. A member and later commanding officer of the Marine Corps rifle and pistol team, <mask> earned several medals in competition. The President of the United States of America presented the Silver Star to the captain of the United States Marine Corps in Company H, 2nd Battalion, 3rd Marines, 9th Marine Amphibious brigade. While engaged in a company-size search and destroy mission near the village of Ap Sieu Quan, Captain <mask> had established a defensive perimeter outside the village and had deployed one platoon to search the area when the entire company came under intense small arms and automatic weapons fire.He displayed exceptional courage and leadership as he exposed himself to hostile fire to move forward to a vantage point where he could observe the action and direct the fire and movement of his men. The Marines were temporarily pinned down by fire being delivered from a tree line 300 meters away from his defensive perimeter and from positions within the village. Captain <mask> quickly consolidated his position, established a base of fire to cover the wounded and maneuvered the search platoon back to the perimeter after showing an extensive knowledge of tactics. He wanted gunship, fixed wing and artillery support. Completely ignoring his own safety, he moved about the perimeter in the face of heavy North Vietnamese fire to encourage his men, ensure the security of each firing position and direct he fire of the company mortars. When the gunships arrived, they directed their fire against hostile positions seventy-five meters from the front elements of his unit. He risked his own life to adjust rocket fire on other enemy positions.After the fixed wing aircraft arrived, he skillfully adjusted their runs on top of the enemy trenches. When all the aircraft had left, Captain <mask> called in heavy artillery and adjusted their fire. He was able to provide security not only for his company but also for 250 refugees who had fled to the Marines for protection. He found out the following morning that the North Vietnamese had been routed and had left five dead, one rifle, several grenades, demolitions and numerous pieces of equipment. Captain <mask> upheld the highest traditions of the Marine Corps and the United States Naval Service by his superior leadership, bold initiative and dedication to duty at great personal risk. After retiring from the Marine Corps, <mask> went to Saudi Arabia to train their school. He spent five years as the high school's JROTC senior instructor after returning to the U.S.In retirement, he wrote about his experiences in the Marines. <mask> died at Hospice House in Idaho at the age of 77. His wife and son were by his side. Major <mask> was buried in Arlington National Cemetery with full military honors. Carlos Hathcock is a famed Marine Corps sniper. The first Scout Sniper School was established by Edward James Land. The Silver Star United States Marine Corps personnel of the Vietnam War were recipients.

masks:
Richard O
Culver Jr
Richard Otis Culver Jr
Richard Jr
Culver
Culver
Culver
Culver
Culver
Culver
Culver
Culver
Culver


texts: <mask> was an American jazz double-bassist. The son of Leon V. Duvivier was born in New York City. He studied violin at the Conservatory of Music and Art. He was an assistant concertmaster for the Central Manhattan Symphony Orchestra. He concentrated on composition at New York University while playing double bass. Coleman, Lucky, and Eddie were with him in the early 1940s. After serving in the U.S. Army, he worked as an arranger and bassist.He was with the singer on her tour of Europe in the 1950s. He recorded for commercials. He recorded as a leader with Martial Solal for Coronet, even though he spent most of his career as a sideman. He worked with Bud Powell for four years. He worked with a number of famous people, including Frank Sinatra, Clark Terry, Hank Jones, and Bob Wilber. He died of cancer in New York. The Institute of Jazz Studies at Rutgers University received a large collection of papers from his mother, Ismay Duvivier.Discography with Pepper Adams, The Cool Sound of Pepper Adams, Jazz Goes to the Movies, and Portrait of an Artist. Boss Soul! The first volume of the Soul Summit. The Soulful Moods of Gene Ammons is a Late Hour Special. Night Lights (Prestige, 1962 [1965]) with Louis Armstrong and his friends. 'Live and Well in Japan!' is a song by Benny Carter. With Ron Carter Where?With Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and Max Roach, Sonny Clark and (Muse, 1978) Keep On Pushin' with Al Cohn Son of Drum Suite. Swingville, 1960 Ya! (Argo, 1964) Off the Wall with Etta Jones. Harold Arlen's Music from Jamaica is played with Gloom, Cash, Love and All the Sad Young Men. The 3R's (Muse, 1979 [1982]) with Jimmy Rushing Every Day I Have the Blues.Scottie plays the Duke (Prestige, 1959) and The Shirley Scott Trio (Moodsville, 1958). Roll 'Em: Shirley Scott plays the big bands with Clark Terry Girl Talk. I keep Comin' Back! Parallel-a-Stitt (Roulette, 1966) Goin' Down Slow (Prestige, 1972) In Style (Muse, 1982) With Buddy Tate Live at Sandy's. Several Shades of Jade, Breeze from the East, Warm Wave, El Sonido Nuevo, and Last Bolero in Berkeley were all written by Cal Tjader. With Warren Vaché Jr. Iridescence and Eddie "Cleanhead" Vinson at Sandy's. With Walter Wanderley Moondreams and Julius Watkins French Horns for My Lady.The musicians from New York City were jazz double-bassists.


texts: On January 14, 1898, the underground Zaliznyak, Gorsky, Horlitsa, was christened by the name of <mask>. He was born in Poltava region. The father was an officer of the Russian Imperial Army. Tarnoruda is the place where the year of birth was in 1901. He was in the First World War. He joined the Zaporozhye Division at the age of 20 and was promoted to colonel in the years of the National Revolution. At the beginning of February 1920, when the Zaporizhzhia Division was in the vicinity of the Cold Yar, Yuri became ill and remained in treatment at the Motronin Monastery.After treatment, he had to catch up with his military unit, but the partisans of the Kholodny Yar Republic convinced him to stay with them. He was given the assignment of 1st Lieutenant of the hundred of the Hajdamak regiment and became one of the closest assistants of the Ataman Petrenko and Chief Ataman Vasyl Chuchupak. He returned to occupied Ukraine in the spring of 1922 after becoming a liaison to the Ukrainian People's Republic government. The underground work was carried out under the name "Gorsky". But soon he was arrested. He spent 8 months in the prison. He was released from custody on December 16, 1923, after the Chekists failed to prove his guilt.The Ukrainian government instructed Gorsky to work in the intelligence apparatus. According to a later statement by one of the most experienced leaders of the PodolskGPU, Halytsky, Gorsky failed many Chekist operations. He was arrested again in 1924. The Bolsheviks appreciated Yuri's underground work and sentenced him to 15 years in prison. He was in a hospital for a long time. He was in several prisons during this time. He escaped from the Kherson Psychiatric Hospital in April 1931.After a long journey through the Soviet Union, he crossed the border and found himself in Rivne. He lived in Bagatkivtsi and Plow. The local priest and I live in Bagatkivtsi. He told about the life of Ukrainians in Zbruch in the local reading room. In October 1932, the publishing house "Chronicle of the Red Viburnum" published an article by Gorlis-Gorsky "Cold Yar", and the next day, a magazine version of his most important work, "Cold Yar", was published. Ave dictator was the first book to be published. The book "In the Enemy Camp" and the first part of "Cold Yar" were both published in 1935.The second part of the novel "In the Enemy Camp" was written about being in a mental hospital. During the fighting in Transcarpathia, the manuscript was lost. He considered this novel his best work and was sad by the loss. The Red Thistle (The Red Army in the Light of Reality): Based on Materials Announced in the Soviets and Abroad, and from His Own Observations during Life in the USSR, was published in 1935. The play "We swear by the graves of heroes!" was published in 1936. There is a cloud called Ataman Cloud. The second part of "Cold Yar" was published in 1937.The book was a big hit among young people. The text of the publication "Cold Yar" was adapted to the needs of the local reader. There were many words and expressions in the novel. In 1967, the London edition of Nikita Myronenko was published. The Army of the Ukrainian People's Republic defended Carpathian Ukraine during the Transcarpathian period. After the defeat of Carpathian Ukraine, Yuri moved to a remote Transcarpathian town where he taught for a while. The famous writer was invited to settle in Canada by the Ukrainians.Information about a possible German war against the Soviet Union forced him to change his plans, so he could not move to another country. At the end of the Second World War, Gorlis-Gorsky tried to create a unit from Ukrainians captured during the Soviet-Finnish war. In June 1942, Gorlis-Gorsky realized his dream and returned to the Yar. The writer settles in Oleksandrivka and collects testimonies of participants in the struggle. The parents of Peter and Vasyl Chuchupaky were presented with a book by Gorlis-Gorsky. He moved to the West after the arrival of the Red Army. He married Halyna on November 26, 1943, in the Orthodox Church of St. George.On September 25,1946, his daughter Lesya was born, after he and his wife moved to Germany and settled in a camp for displaced persons in New Ulm. He began political activity in New Ulm. He was one of the founding members of the Ukrainian Revolutionary Democratic Party. On September 27, 1946, <mask> Gorlis-Gorsky vanished. "Otaman Hmara", "Red Thistle", "Cold Yar", and "Ave Dictator" are considered lost. There are external links to the biography of Yuri Gorodyanin-Lisovsky. Biography of a man.ер. р ор-ор,,,,,,,,,,,,,,,  The book "Kholodny Yar" was written by <mask> Horlis-Gorsky.

masks:
Yuriy Gorlis Gorsky
Yuriy
Yuriy


texts: <mask> is a Canadian-Italian former professional ice hockey defenceman and former head coach of the New York Islanders. <mask> played for a minor ice hockey team from York Mills in the 1969 Quebec International Pee-Wee Hockey Tournament. He was drafted in the fourth round of the 1977 NHL Entry Draft by the Buffalo Sabres and started his career in the National Hockey League. He played for the St. Louis Blues, Toronto Maple Leafs, and Minnesota North Stars. He left the NHL at the end of the 1985–86 season to play hockey in Italy. In 1995 <mask> began his career as a hockey coach. After one season with the Generals, <mask> became the head coach.The Saint John Flames lost to the Philadelphia Phantoms in the 1998 Calder Cup finals, but <mask> got back into coaching after a brief stint in the American Hockey League. The New York Islanders named <mask> their head coach on January 21, 1999 after Mike Milbury stepped down to concentrate on his GM duties. <mask> was relieved of his coaching duties after the Islanders finished their season. <mask> became the head coach of the Barrie Colts in 1999. Ryan Barnes, one of the "Brampton Boys", faced charges of assault with a weapon after a stick-swinging incident during a game in October. Three of the team's players were charged with sexual assault. <mask> was banned from entering the United States after he smuggled two players over the Canada-U.S. border in the baggage compartment of the team bus.<mask> walked out of the Metro Centre without speaking to the media after his team lost to the Rimouski Océanic in the Memorial Cup. During the 2001 DEL quarterfinals, <mask> was involved in a mass brawl in which he hit the head of the Berlin Capitals' head coach, and he was also injured, but he continued his coaching career in Germany. <mask> received a two-game suspension and a 15,000 fine. In the finals against the Barons, he pretended to faint behind the Adler bench to get the attention of his star player. His team won the title that year and went to the finals the following season. <mask> left Mannheim in January 2003 because his contract wouldn't be renewed at the end of the season. <mask> moved to Austria to coach the Graz 99ers and EHC Linz.In December of 2006 he returned to Germany with the Hamburger Freezers. The case was lost when Linz tried to get a restraining order. The Freezers fired <mask> in December of 2008. He took over as the head coach of Klner Haie on December 3, 2009, but was relieved of his duties in November 2011. He joined the Storm as a consultant and assistant coach. He was the interim head coach of the team. The term interim was removed prior to the end of the season.After only two wins, he resigned from the Storm and went back to Germany to coach the DEL2. <mask> became the head coach of the DEL's Straubing Tigers in April of last year. He admitted at that time that he had gone too far in his past. I have learned and become more quiet since these moments happened a few years ago. His team won only eight of the first 13 games of the season and dropped to the bottom of the DEL. <mask> was named head of Adler Mannheim on December 4, 2017. He guided the Adler team to an appearance in the playoffs in his last season.He was a scout for the Adler organization.

masks:
William Donald Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart
Stewart


texts: One of the most renowned and influential opera singers of the 20th century was <mask>. Her bel canto technique, wide-ranging voice and dramatic interpretations were praised by many critics. In her early career, she was known for her work in the operas of Donizetti, Rossini, and Verdi. She was called La Divina because of her musical and dramatic talents. She was raised by a domineering mother who wanted a son. <mask> started her career in Italy after receiving her musical education in Greece. Forced to deal with the exigencies of 1940s wartime poverty and with near-sighted that left her nearly blind, she was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217She had a mid-career weight loss that may have contributed to her vocal decline. The press trumpeted <mask>'s love affair with Onassis and her rivalry with Tebaldi. Although her dramatic life and personal tragedy have often overshadowed <mask> the artist in the popular press, her artistic achievements were such that Leonard Bernstein called her "the Bible of opera" and her influence so enduring that, in 2006, Opera News wrote of her: "nearly thirty years after her death, <mask>'s New York birth certificate states that she was named <mask> Cecilia Kalogeropoulos. On December 2, 1923, she was born at Flower Hospital, 1249 5th Avenue, Manhattan, to Greek parents. The name Kalogeropoulos was shortened first to "Kalos" and then to "Callas" to make it more manageable. George and Litsa <mask> were not compatible from the beginning.George was easy-going and unambitious, with no interest in the arts, while Litsa was socially ambitious and had dreamed of a life in the arts, which her middle-class parents had stifled in her childhood and youth. Litsa introduced George to her family because her father was in failing health. Petros warned his daughter that she would never be happy with George. I will not be able to help you if you marry that man. Litsa realized that her father was correct when she ignored his warning. The situation was worsened by George's philandering and was not improved by the birth of a daughter in 1917 or a son in 1920. The marriage was dealt a blow by Vassilis's death.George made the decision to move his family to the U.S. after realizing that Litsa was pregnant again, and was greeted with "shouting hysterical" followed by George "slamming doors". In 1923, the family moved into an apartment in the heavily ethnic Greek neighborhood of Queens. Litsa was so unhappy with her daughter's birth that she refused to look at her new baby for four days. <mask> was christened at the Archdiocesan Cathedral of the Holy Trinity. <mask> settled the family in Manhattan on 192nd Street in Washington Heights, where he grew up, after opening his own pharmacy when <mask> was 4. At three years old, <mask>'s musical talent began to manifest itself, and after Litsa discovered that her youngest daughter also had a voice, she began pressing "Mary" to sing. <mask> said that he hated singing when he was five.George was unhappy with his wife favoring their elder daughter, as well as the pressure put upon young Mary to sing and perform, while Litsa was increasingly embittered with George and his absences and infidelity, and often violently reviled him in front of their children. In 1937, Litsa returned to Athens with her two daughters after her marriage deteriorated. The relationship with <mask>'s mother continued to erode during the years in Greece, and in the prime of her career, it became a matter of great public interest, especially after a 1956 cover story in Time magazine which focused on this relationship and later, by Litsa's. In public, <mask> recalls the strained relationship with Litsa on her unhappy childhood spent singing and working at her mother's insistence, saying, My sister was slim and beautiful and friendly, and my mother always preferred her. I was unpopular and ugly. It's cruel to make a child feel bad. She took my childhood away and I will never forgive her.I should have been playing and making money when I was younger. Everything they did to me was bad. She said there must be a law against forcing children to perform at an early age. Children should have fun. They shouldn't be given too much responsibility. According to a biographer, Litsa's treatment of George in front of their young children led to resentment and dislike on <mask>'s part. According to <mask>'s husband and her close friend Giulietta Simionato, <mask>'s mother pressed her to go out with various men, mainly Italian and German soldiers, to bring home money and food during the war.<mask> never forgiven her mother for what she perceived to be a kind of prostitution forced on her, even though she was convinced that she managed to remain untouched. Litsa had adopted a questionable lifestyle that included pushing her daughters into degrading situations to support her financially, as well as entertaining Italian and German soldiers herself. In an attempt to patch things up with her mother, <mask> took Litsa along on her first visit to Mexico in 1950, but this only renewed the old tensions and resentments, and they never met again. <mask> stopped communicating with her mother after receiving angry and accusatory letters from Litsa. <mask> received her musical education in Athens. Her mother tried to enroll her at the prestigious Athens Conservatoire. The conservatoire's director refused to accept her without satisfying theoretic prerequisites, as her voice failed to impress.In the summer of 1937, her mother visited <mask> at the younger Greek National Conservatoire, asking her to take Mary, as she was then called, as a student for a modest fee. In 1957, Trivella recalled her impression of "Mary, a very plump young girl, wearing big glasses for her myopia": The tone of the voice was warm, lyrical, intense, and it swirled and flared like a flame. It was an amazing phenomenon, or rather it was a great talent that needed control, technical training and strict discipline in order to shine. Trivella agreed to tutor <mask>, completely waiving her tuition fees, but no sooner had <mask> started her formal lessons and vocal exercises than she began to feel that <mask> was not a contralto as INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals They began working on lightening her voice's timbre and raising the tessitura of her voice. <mask> was recalled as a model student by Trivella. Her studies are dedicated to her heart and soul.Her progress was amazing. She worked up to six hours a day. She was singing the most difficult arias within six months. On April 11, 1938, <mask> ended the recital of Trivella's class at the Parnassos music hall with a duet from Tosca. I had a problem with not having low chest tones, which is essential in bel canto, and that's where I learned my chest tones. <mask> told the French program L'invitée du dimanche that the development of her chest voice was due to her next teacher, Elvira de Hidalgo. <mask> studied with Trivella for two years before her mother got another chance at the Athens Conservatoire.<mask> tried out for Weber's Oberon. The sounds were "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion". She agreed to take her as a student immediately, but <mask>'s mother wanted her to wait a year so she could start working. On April 2, 1939, <mask> undertook the part of Santuzza in a student production of Mascagni's Cavalleria rusticana at the Greek National Opera at the Olympia Theatre, and in the fall of the same year she attended the Athens Conservatoire. <mask> told Lord Harewood that De Hildalgo had the last real training of the real bel canto. I was thrown into her arms when I was a young girl because I knew the secrets of the bel canto. It's a very hard training and you're supposed to wear a strait-jacket if you don't like it.You have to learn to read, to write, to form sentences, and to put yourself back on your feet if you fall. The real bel canto way is where no matter how heavy a voice is, it should always be kept light and worked on in a flexible way. It is a method of keeping the voice light and flexible and pushing the instrument into a zone where it might not be too large in sound, but penetrating. Teaching the scales, trills, and bel canto is a whole language of its own. <mask> was recalled as a phenomenon by De Hidalgo. <mask> said that she would go to the conservatoire at 10 in the morning and stay there for 10 hours a day. Her answer when asked why she did this was that even with the least talented student, he could teach you something that you might not be able to do.After several appearances as a student, <mask> began appearing in secondary roles at the Greek National Opera. <mask> was able to earn a small salary because of De Hidalgo, which helped her and her family through the difficult war years. In February 1941, <mask> made her professional debut in a small role in Boccaccio. Soprano Galatea Amaxopoulou said, "<mask>'s fantastic performing ability had been obvious, and from then on, the others started trying ways of preventing her from appearing." <mask> said that the established Sopranos used to stand in the wings and make remarks about her, laughing and pointing their fingers at her. In August 1942, <mask> made her debut in a leading role in Eugen d'Albert's Tiefland, singing the role of Marta. There were glowing reviews of <mask>'s performance.<mask>'s performance for the weekly To Radiophonon: The singer who took the part of Marta, that new star in the Greek firmament, was evaluated. Kalogeropoulou is one of those God-given talents that one can only marvel at. <mask>'s detractors began to refer to her as "The God- Given" after these performances. Anna Remoundou asked a colleague, "Could it be that there is something divine and we haven't realized it?" after watching <mask> rehearse Beethoven's Fidelio. The ancient Odeon of Herodes Atticus theatre at the foot of the Acropolis was where <mask> sang the role of Santuzza in Cavalleria rusticana. In August and September 1944, <mask> played the role of Leonore in a Greek language production at the Odeon of Herodes Atticus. Leonore <mask>'s greatest triumph was when <mask>u's Leonore let her Soprano soar out radiantly in the untrammelled jubilation of the duet.... The art of the prima donna wasnobled by the harmony of sound that she gave here. <mask> was advised to establish herself in Italy after the liberation of Greece. After giving a series of concerts around Greece, <mask> returned to America to see her father and pursue her career, despite her teacher's advice. <mask> had given 56 performances in seven operas and appeared in 20 recitals when she left Greece two months short of her 22nd birthday. <mask> said that when she got to the big career, there were no surprises for her. After returning to the United States in 1945, <mask> made the rounds of auditioning.Edward Johnson, general manager of the Metropolitan Opera, liked her voice so much that he wanted to hear it on stage. According to <mask>, the Metropolitan Opera offered her Madama Butterfly and Fidelio, to be performed in Philadelphia and sung in English, both of which she declined, feeling she was too fat for Butterfly and did not like the idea of opera in English. In a 1959 interview with the New York Post, Johnson confirmed that a contract was offered, but she didn't like it because of the roles. She turned it down because it was a beginner's contract. <mask> was supposed to re-open the opera house in Chicago as Turandot, but the company folded before opening. Basso Nicola Rossi-Lemeni was aware that Tullio Serafin was looking for a dramatic singer to play La Gioconda in the opera. The young <mask> was so strong and certain of her future that he recalled.I knew this girl, with her courage and huge voice, would make a huge impact in a big outdoor theatre. He recommended <mask> to Giovanni Zenatello. Zenatello was so excited that he jumped up and joined <mask> in the duet. <mask> made her Italian debut in this role. <mask> met a wealthy industrialist who began courting her. He took control of her career after the marriage dissolved. It was Meneghini's love and support that gave Callas the time she needed to establish herself in Italy, and she went by the name of <mask> <mask>.After La Gioconda, <mask> had no more offers, and when Serafin called on her to sing Isolde, she told him that she already knew the score, even though she had only looked at the first act. She admitted to having seen the second act of the opera and having seen the music. She was cast in the role immediately. <mask>'s mentor and supporter was Serafin. According to Lord Harewood, Tullio Serafin has had a more distinguished career than any other Italian conductor. <mask> said that working with Serafin was the "really lucky" opportunity of her career, because he taught her that there must be an expression. The justification of music was taught to me by him.I drank all I could from this man there. The great turning point in <mask>'s career occurred in Venice in 1949. Margherita Carosio, who was going to sing Elvira in I puritani at the Teatro la Fenice, fell ill while she was engaged to sing Die Walkre. Unable to find a replacement for Carosio, Serafin told <mask> that she would be singing Elvira in six days, and when she protested that she did not know the role, he told her "I guarantee that you." It would have been cause enough for surprise to attempt to essay them both in the same season, but they didn't. Before the performance actually took place, one incredulous critic snorted, "We hear that Serafin has agreed to conduct I puritani with a dramatic Soprano." Can we expect a new edition of La traviata with a male voice?The miracle that <mask> accomplished was acknowledged by one critic after the performance. Her interpretation has a warmth that one would not find in other Elviras. Franco Zeffirelli said that what she did in Venice was incredible. To realize the size of her achievement, you need to be familiar with opera. It was as if someone asked Beverly Sills, one of the great coloratura Sopranos of our time, to substitute for Birgit Nilsson, who is famous for her greatWagnerian voice. It is doubtful if any of the many roles <mask> undertook had a more far-reaching effect. <mask>'s career was changed by her first appearance in bel canto and she went on to perform in Lucia di Lammermoor, La traviata, Armida, La sonnambula, and Il pirata.She opened a new door for all the singers in the world, a door that had been closed. Behind it was sleeping a great idea of interpretation. Those who follow her have been given the chance to do things that were impossible before her. I have never dreamed that I am compared with <mask>. It is not right. <mask> is much larger than me. On a few days' notice, <mask> learned and performed Cherubini's Medea, as well as Rossini's Armida.In a 1952 RAI recital, <mask> opened with "Lady Macbeth's letter scene", followed by the "Mad Scene" from Lucia di Lammermoor. <mask> did not make her official debut at Teatro alla Scala in Milan until 1951. Antonio Ghiringhelli, the general

masks:
Maria Callas
Maria
Callas
Callas
Callas
Maria Anna
Callas
Maria
George Callas
Maria
Maria
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Maria Trivella
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Maria
Maria Alkeou
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Maria Kaloyeropoulo
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas
Maria Meneghini
Callas
Callas
Callas
Callas
Callas
Callas
Maria Callas
Callas
Callas
Callas
Callas
Callas
Callas
Callas


texts: manager of La Scala, disliked <mask> so much that he replaced him in the role of Aida. Menotti said that Ghiringhelli promised him any singer he wanted for the premiere of The Consul, but when he suggested <mask>, Ghiringhelli said that he wouldn't have <mask> at La Scala except as a guest artist. Ghiringhelli had to relent as <mask>'s fame grew, and especially after her success in I vespri Siciliani in Florence. Many new productions were mounted for <mask> by directors such as Herbert von Karajan, Margherita Wallmann and Franco Zeffirelli. Visconti stated later that he began directing opera because of Callas, and that he directed her in new productions of La vestale, La traviata, La sonnambula, Anna Bolena and Iphigénie en Tauride.Franco Corelli's debut at La Scala was arranged by <mask>, and he sang Licinio in Spontini's La vestale opposite <mask>'s Julia. In Rome, the two had sung together for the first time. Corelli had earned great respect from <mask>, who, in Mr Corelli, finally had someone with whom she could act. The two singers performed in several productions at La Scala, singing opposite each other. Throughout <mask>'s career, their partnership continued. She traveled to Argentina to sing at the Teatro Coln after she married Meneghini. <mask> made her South American debut on May 20, 1949.The roles of Aida, Turandot and Norma were directed by Serafin. She only appeared on this stage once. Her debut in the United States was five years later in Chicago in 1954. Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with Norma, but was preceded by an unflattering cover story in Time magazine, which rehashed all of the Callas clichés, including her temper. On November 21, 1957, <mask> gave a concert to open the Dallas Civic Opera, and helped establish that company with her friends from Chicago, Lawrence Kelly andNicola Rescigno. She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in La traviata, and that same year, in her only American performances of Medea, gave an interpretation of the title role worthy of Euripides." <mask>'s Metropolitan Opera contract was canceled due to a feud with Bing.The situation gave Allen Oxenburg an opportunity for his own company, the American Opera Society, and he approached her with a contract to perform. A January 1959 performance in which she accepted and sang the role became legendary in opera circles. Bing and <mask> reconciled their differences and she returned to the Met in 1965, singing the title role in two performances with Franco Corelli and Richard Tucker. In 1952, she made her London debut at the Royal Opera House in a performance with Ebe Stignani in the role of Adalgisa, as well as the young Joan Sutherland in the small role of Clotilde. <mask> and the London public had a love affair and she returned to the Royal Opera House five times. On July 5, 1965, <mask> ended her stage career at the Royal Opera House in a production by Franco Zeffirelli and featuring her friend and colleague Tito Gobbi. <mask> was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217During a lunch break while recording Lucia in Florence, Serafin commented to <mask> that she was eating too much and allowing her weight to become a problem. Gobbi suggested that she step on the weighing machine outside the restaurant to see if she was heavy. She became rather silent as a result of the result. In 1968, <mask> told Edward Downes that during her first performance in Cherubini's Medea in May 1953, she realized that she needed a leaner face and figure to do dramatic justice to this as well as the other roles she was undertaking. She says that her vocalizing was getting heavy because she was getting so heavy. I was working too hard, I was tiring myself, and I was perspiring too much. I couldn't move freely because I wasn't well.I was heavy and uncomfortable to move around because I was tired of playing a game and playing this beautiful young woman. It was uncomfortable and I didn't like it. If I'm going to do things right, I need to diet and put myself into a presentable state. Rescigno called her "possibly the most beautiful lady on the stage" after she lost almost everything. After losing weight, <mask> was an "astonishing, svelte, striking woman" who showed no signs of being fat. <mask> filed a lawsuit because of rumors that she lost weight by eating "physiologic pasta", and that she had swallowed a tapeworm. <mask> stated that she lost the weight by eating salads and chicken.The loss of body mass made it more difficult for her to support her voice and INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals She was both gifted and beautiful, said Gobbi. Every role she undertook was invested with fresh magic because of her awareness of this. I am not prepared to say what it did to her. She blossomed into an artist unique in her generation and outstanding in the whole range of vocal history. Callas's voice was controversial and bothered many as it thrilled and inspired. A great singer needs an instantly recognizable voice, according to Walter Legge.The Italian critic Rodolfo Celletti stated that the timbre of <mask>'s voice, considered solely as sound, was ugly. I believe that part of her appeal was due to the fact that it lacked those elements which are described as velvet and varnish. Why? Because of its lack of varnish, velvet and richness, this voice could acquire such distinctive colors and timbres as to be unforgettable. According to Ira Siff's review of <mask>'s 1951 live recording of I vespri Siciliani, <mask> had a flawed voice and was unattractive by conventional standards. One can hear a rich, spinning sound when listening to her entrance in this performance. The middle register displays no of the "bottled" quality that became more and more pronounced as Callas matured."<mask>'s mentor used to refer to her as 'Una Grande vociaccia', but it means a big voice, a great voice." A voice that is ugly in a way. In one of her last interviews, <mask> said that she didn't like the sound of her own voice, but that she was able to listen to it. I don't like the kind of voice I have so I have to do it. I don't like listening to myself. When we recorded San Giovanni Battista in a church in Perugia in 1949, it was the first time I had ever listened to a recording of my singing. I cried my eyes out when they made me listen to the tape.Even though I don't like my voice, I'm able to accept it and be detached and objective about it so I can say, "Oh, that was really well sung." It is difficult to speak of the voice of Callas. Her voice was special. The first time you listen to a string instrument, it can be a bit strange. When you become friends with this kind of sound, it becomes a magical quality. This was Callas. Since in her prime, Callas's voice has been difficult to place in the modern vocal classification or Fach system because of the heavy roles she had to perform.Serafin said that the woman can sing anything written for the female voice. According to Michael Scott, <mask>'s voice was a natural high Soprano, and going by evidence of <mask>'s early recordings,Rosa Ponselle felt the same. According to music critic John Ardoin, Callas was the reincarnation of the 19th-century sfogato or "unlimited Soprano", a reference to the famous bel canto operas. He believes that <mask> was a natural mezzo-Soprano whose range was extended through training and willpower, resulting in a voice which lacked the homogeneity of scale once so prized in singing. There were parts of their voices that were not under control. Many who heard Pasta remarked that her uppermost notes seemed to come from ventriloquism, a charge which would be made against Callas. There was a portion of the scale which differed from the rest in quality and remained to the last 'under a veil' according to the writings of Henry Chorley.She had to compose her instrument and give it flexibility from the uncouth materials. Her studies to acquire execution must have been great, but the volubility and brilliancy gained a character of their own. There was a breadth, an evenness and solidity in her shake, which gave every passage a significance beyond the reach of lighter and more spontaneously singers. As soon as she opened her lips, the best of her audience were held in thrall, without being able to analyze what made up the spell. <mask> seems to have seen the similarities between herself and Pasta, as well as the fact that she started as a natural opera singer. In 1957, she described her early voice as dark and almost black, and in 1968 she said she was not a true opera singer. She told James that it's study, that she can sing the heaviest roles as well as lightest roles.You know, I'm doing nothing special. Even Lucia, Anna Bolena, Puritani, all of them were created for one type of Soprano, the type that sang Fidelio. I was singing Anna Bolena and Sonnambula at the same time as Giuditta Pasta was singing in the 19th century. I'm not doing anything extraordinary. You wouldn't ask a pianist to play everything. I had a wonderful teacher and this is nature. I was a heavy voice, a dark voice, and I was always kept on the light side.She trained me to keep my voice strong. Rodolfo Celletti said that <mask>'s voice was penetrating. The volume was not powerful or small. Her voice could be heard anywhere in the auditorium because of the penetration, which bordered on the ugly because it frequently contained an element of harshness. Celletti wrote that <mask> had a dark voice. The critic for Musical Courier wrote after her first performance of Medea that she displayed a vocal generosity that was barely believable. Richard Bonynge stated in a 1982 Opera News interview that before she slimmed down, she was a huge voice.<mask> had a big voice and it poured out of her. At the bottom of the range, you couldn't tell who was who. The big sound was taken up to the top by her. After losing weight, <mask>'s voice became a "dramatic Soprano with an exceptional top", as one Chicago critic described the voice in Lucia, according to Michael Scott's book. <mask>'s vocal range was short, from F-sharp (F3) below middle C (C4) heard in "Arrigo! "Ah parli a un core" from I vespri Siciliani to E-natural (E6) above high C (C6) is heard in the final act of Rossini's opera. Whether or not <mask> ever sang a high F-natural in performance has been open to debate.Rock Ferris said after her June 11, 1951 concert in Florence that her high E's and F's are taken full voice. The presumed E-natural at the end of Rossini's Armida, a poor-quality bootleg recording of uncertain pitch, has been referred to as a high F by Italian musicologists and critics. The final note of Armida could not have been an F because it was in the key of E, according to Callas expert Dr. Robert Seletsky. The final note in "Merc, dilette amiche" from the 1951 Florence performances of I vespri Siciliani is not a high F as claimed by Eve Ruggieri. In a 1969 French television interview with on the program L'invitée du dimanche, he spoke about Callas's voice going to high F, but he also talked about her lower register extending to C3. <mask>'s voice was noted for its three distinct registers: her low or chest register was extremely dark and powerful, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most Sopranos. Her middle register had a peculiar and highly personal sound, as if she were singing into a jug, and was noted for its veiled or "bottled" sound.Walter Legge said that the sound was caused by the "extraordinary formation of her upper palate, shaped like a Gothic arch, not the Romanesque arch of the normal mouth". In contrast to the light flute-like sound of the typical coloratura, she would attack these notes with more vehemence and power. There were no musical or technical difficulties in this part of the voice which she could not execute with ease. Her runs were smooth and accurate, even in the trickiest intervals. There isn't a bar in the whole range of nineteenth-century music for high Soprano that tested her powers. She was able to execute a diminuendo on the high E-flat, which Scott describes as "a feat unparalleled in the history of the gramophone." Celletti says that Callas seemed to use another voice in these soft passages.In long held notes without ornamentation, her mezza voce could achieve such moving sweetness that the sound seemed to come from on high. I don't know where it came from. <mask>'s own contemporaries were amazed by the combination of size, weight, range and agility. One of the choristers in I vespri Siciliani recalled, "My God!" She sounded like our deepest contralto, Cloe Elmo. She took an E-flat before the evening was over. It was twice as strong as Toti Dal Monte's.Giulietta Simionato said that the first time they sang together was in Mexico in 1950, where she sang the top E-flat in the second-act finale of Aida. It was like a star in the opera house. The chance for Tebaldi to sing the Soprano coloratura with this voice was the most fantastic thing. This was very special. Absolutely! "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of joining the three almost incompatible voices into one unified whole, but until about 1960," Walter Legge writes. According to Rodolfo Celletti, her voice had a guttural quality in certain areas of her range.I would go so far as to say that her voice had such resonances as to make one think of a ventriloquist. There was a problem between the middle and upper register. The sound around the F and G was not quite right, as though the voice were not functioning properly. Celletti says that even if Callas produced an unpleasant sound, the technique she used for these transitions was perfect. The critic says, "<mask>'s 'faults' were in the voice and not in the singer; they are so to speak, faults of departure but not of arrival." Celletti distinguishes between the natural quality of the voice and the technique. In 2005, Ewa Podle said of <mask>, "Maybe she had three voices, maybe she had three ranges, I don't know."Nothing disturbed me. She gave me everything that I bought. Why? She used her voices and her register to tell us something. Much has been said about her voice, and no doubt the discussion will continue. No one could deny the harsh or "squashed" sounds or the wobble on the very high notes. These and others were the accusations made at the time against Pasta and Malibran, two

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texts: geniuses of song.Both were tried in their day. ... Few singers have made history like these two did. The thoughts of Artistry <mask> can be found at Wikiquote. <mask> was a controversial artist. <mask> considered herself the first instrument of the orchestra, despite being dismissed as a singer. Grace Bumbry stated, "If I followed the musical score when she was singing, I would see every tempo marking, every dynamic marking, everything being adhered to, and at the same time, it was something that was very beautiful and moving.""If the public could understand how deeply and utterly musical <mask> is, they would be stunned," said Victor de Sabata to Walter Legge. One of her colleagues described <mask> as having an innate architectural sense of line-proportion and a sense of rhythm within the rhythm. Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato, trills, half-trills, gruppetti, scales, etc." The fusion of dynamic range and timbre is the essential virtue of <mask>'s technique. mastery means total freedom of choice in its use, not being a slave to one's abilities, but rather being able to use them at will as a means to an end. While reviewing the many recorded versions of "perhaps Verdi's ultimate challenge", the aria "D'amor sull'ali rosee" from Il trovatore, <mask> articulates all of the trills. The chiaroscuro through her tone is part of the wonder in this performance.The way she connects the voice from note to note, phrase to phrase, lifting and gliding is one of the ways that chiaroscuro is created. This is not a sloppy swoop because it is musically precise. <mask> uses more portamento in this aria than any other singer. She sees the aria as a whole, "as if in an aerial view", as Sviatoslav Richter's teacher observed of his most famous student. Callas had a gift for language and the use of language in music. She always knew which word to emphasize and which syllable to use. Michael Scott said, "If we listen attentively, we note how her perfect legato enables her to suggest by musical means even the exclamation marks and commas of the text."She had the ability to perform the most difficult music easily, but she also had the ability to use each ornament as an expression rather than a firework. The Soprano said she was most interested in how she gave the runs and the words. I was always floored by that. I always heard her say something. That is an art. Walter Legge states that her taste, elegance and deeply musical use of ornamentation were her most admirable qualities. Changes of color were pure magic and there were innumerable exquisite portamentos from one note to its nearest neighbor.She was the supreme mistress of bel canto. Ira Siff remarked, "When I saw the final two Toscas she did in the old Met, I felt like I was watching the actual story on which the opera had later been based." <mask> was not a realistic or verismo style actress: her physical acting was merely "subsidiary to the heavy Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting... Through her use of the voice flying the text upon the notes, all this was musically appointed. Augusta Oltrabella said, "<mask> was an actress in the expression of the music, and not vice versa." Matthew Gurewitsch says that the essence of her art was refinement. It seems odd for a performer to use the term.She was capable of the grand gesture, still, judging strictly from the evidence of her recordings, we know (and her few existing film clips confirm) that her power flowed not from excess but from unfaltering truth in the moment. It flowed from being irreproachable. According to people, Callas would distort a vocal line for dramatic effect. Singers snarl, growl, whine, and shriek in the throes of passion. Callas wasn't one of them. She found everything she needed in the notes. "It's enough to hear her, I'm positive!" stated Ewa Podle.She was able to say everything with her voice. I can see everything in front of my eye. "For me, she was extremely stylized and classic, yet at the same time, human, but on a higher plane of existence," says opera director Sandro Sequi. She was the greatest opera singer because realism was foreign to her. She was wasted in verismo roles because opera is the least realistic of theater forms. Early nineteenth-century opera requires highly stylized acting and is not merely the antithesis of reality. Callas had a perfect face.Her big features spoke volumes from a distance. In regards to <mask>'s physical acting style,Nicola Rescigno states, "<mask> had a way of transforming her body for the exigencies of a role, which is a great triumph." Everything would slope down in La traviata. Her arms were like those of the great ballerinas. Everything in Medea was not straight. She used a walk that was like a tiger's walk. She was never in a hurry.She was very powerful but also very stylized. Her gestures were small. I don't think she did more than 20 gestures. She was able to stand for 10 minutes without moving a hand or finger. Callas was so focused on her colleagues that it seemed that the drama was all in her head, according to Edward Downes. It was <mask>'s quiet listening that made the dramatic impact in Chicago. She knew what he was singing.When one wants to find a gesture, when they want to find how to act onstage, all they have to do is to the music, according to Callas. The composer has seen that before. You will find every gesture if you really listen with your soul and ears. The artist <mask>'s most distinguishing quality was her ability to breathe life into the characters she portrayed, or in the words of Matthew Gurewitsch, "most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice." Her secret is in her ability to transfer to the musical plane the suffering of the character she plays, the nostalgic longing for lost happiness, the anxious fluctuation between hope and despair, between pride and supplication, between irony and generosity. The most diverse and opposite of sentiments, cruel deceptions, ambitious desires, burning tenderness, grievous sacrifice, all the torments of the heart, acquire in her singing that mysterious truth, which is the primary attraction of opera. It was a flawed voice.<mask> sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. She bent the defects of her voice into advantages. "If melodrama is the ideal unity of the trilogy of words, music, and action, it is impossible to imagine an artist in whom these three elements were more together than Callas." Reality was on stage during <mask>'s performances. The auditorium, the audience, and me stood behind me. Only truth, life itself, transpired on stage. It was hard to enjoy any other artist after hearing and seeing <mask>, because she infused every part she sang and acted with such incredible personality.One move of her hand was more than another artist could do. <mask> was the last great artist according to Antonino Votto. When you think that this woman was nearly blind, you should know that she stood a good 150 feet from the podium. Her sensitivity! She always came in with my downbeat even if she couldn't see. She was a complete artist when we practiced. It's foolish to talk about her as a voice.She is a complex of music, drama, and movement. There is no one like her. She was a phenomenon. There was an alleged rivalry between <mask> and Tebaldi. The difference between <mask>'s often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected an argument as old as opera itself, namely, beauty of sound versus the expression of sound. In 1951, Tebaldi and <mask> were booked for a vocal recital in Brazil. <mask> was incensed that Tebaldi took two encores.The two women were said to have engaged in verbal barbs in each other's direction, as a result of this incident, which began the rivalry in the mid-1950s. Tebaldi was quoted as saying "I have one thing that <mask> doesn't have: a heart" while <mask> was quoted in Time magazine as saying that comparing her with Tebaldi was like "comparing Champagne with Cognac...No... with Coca Cola". However, witnesses to the interview stated that <mask> only said "champagne with cognac", and that it was a bystander who quipped "No... with Coca-Cola." The latter comment was attributed to <mask> by the Time reporter. These two singers should not have been compared. Tebaldi was trained in the early 20th century Italian school of singing just as firmly as <mask> was in the 19th century bel canto. Tebaldi considered herself a lyric Soprano, whereas <mask> was a dramatic Soprano.In the early years of her career, <mask> sang heavy dramatic roles and later in her career on bel canto, whereas Tebaldi sang late Verdi and verismo roles. They both had roles in La Gioconda, but Tebaldi only performed it late in her career. <mask> made comments about Tebaldi and the alleged rivalry. During an interview with Norman Ross Jr. in Chicago, <mask> said, "I admire Tebaldi's tone; it's beautiful." I wish I had her voice. According to Francis Robinson of the Met, Tebaldi asked him to recommend a recording of La Gioconda in order to help her learn the role. He was aware of the rivalry and recommended Zinka Milanov's version.He went to visit Tebaldi a few days later and found her listening to <mask>'s recording. She asked why he didn't tell her that <mask>'s was the best. <mask> visited Tebaldi after seeing a performance of Lecouvreur at the Met. In 1978, Tebaldi spoke warmly of her late colleague and summarized the rivalry: This rivality was really building from the people of the newspapers and the fans. I think it was a good thing for both of us, because the publicity was so big and it created a lot of interest in me and <mask>. I don't know why they put this kind of rivality because the voice was different. She was not normal.When I was a young artist, I stayed near the radio every time I heard something about <mask>. <mask>'s voice was damaged due to the heavy roles she undertook in her early years. Giulietta Simionato, Callas's close friend and frequent colleague, stated that she felt that the early heavy roles led to a weakness in the diaphragm and difficulty in controlling the upper register. It wasn't the heavy roles that hurt <mask>'s voice, but the lighter ones, according to Louise Caselotti, who worked with <mask> prior to her Italian debut. <mask>'s heavy use of the chest voice may have led to stridency and unsteadiness with the high notes. Meneghini wrote in his book that <mask>'s voice could have been affected by her early menopause. Carol Neblett once said that a woman is only as good as her hormones.It was a loss of physical strength and breath-support that led to <mask>'s vocal problems, according to critic Henry Pleasants. The production of focused tone can no longer be supported by the singer's respiratory functions without it. The breath escapes, but it is no longer the power behind the tone. When the singer sings lightly, and a voice spread when under pressure, the sound is a breathy one. Joan Sutherland, who heard <mask> throughout the 1950s, said in an interview that it was a wonderful shock when she heard it. You shivered down the spine. She lost weight and it was a bigger sound.She tried very hard to recreate the sound she had when she was fat. The body seemed to be too frail to support the sound that she was making when she lost the weight. It was so exciting. It was very exciting. I don't think Callas was heard after 1955 by anyone. Michael Scott believes that Callas's rapid and progressive weight loss was the cause of her loss of strength and breath support. The sounds were forced beyond the singer's capacity to support or sustain.Photos and videos of <mask> show a very upright posture with her shoulders held back. The Opera Quarterly noted that you can watch the constantly sinking, depressed chest and hear the resulting deterioration of the recital that was broadcasted on television in May 1960. The continual change in posture has been shown to be a sign of a progressive loss of breath support. The recordings of Callas from the late 1940s to 1953 show no decline in the fabric of her voice, no loss in volume, and no unsteadiness in the upper register. "<mask>'s voice since last season has improved a great deal, the second passagio on the high B-natural and C has now completely cleared." <mask>' performance of Medea a year later shows her as secure and free a voice as she will be at any point in her career. She handles the tessitura like an eager thoroughbred because she has a brilliant ring.After her 80 pound weight loss, the instrument would lose its warmth and become thin and acidulous, but the altitudinous passages would to her no longer come easily. The top notes began to appear at this time. Walter Legge, who produced nearly all of Callas's EMI/Angel recordings, states that <mask> "ran into a patch of vocal difficulties as early as 1954." Some felt that the voice had benefited from the weight loss. There is a slight unsteadiness in some of the sustained upper notes, but to me her voice is more beautiful in color than it used to be. Critics felt that her voice had changed for the better, that it had become a more precise instrument, at her performance of the same opera in London in 1957, her first performance at Covent Garden after the weight loss. Many of her most acclaimed appearances are from the year 1954.<mask>'s friend and colleague, Tito Gobbi, thought that <mask>'s vocal problems were due to her state of mind. I think she lost her confidence. She felt enormous responsibility because she was at the top of her career. She might have lost confidence because she was obliged to give her best every night. This was the beginning of the end of this career for me. Gobbi's assertion was supported by a bootleg recording of <mask> rehearsing Beethoven's aria. The 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846The videos of Callas in the late 1950s and early 1960s reveal a posture that betrays breath-support problems, but it's more from watching her sing than from listening, according to Soprano Renée Fleming. I think it was her weight loss that was so dramatic. Deborah Voigt has lost a lot of weight and still sounds great. It can be hard on the voice if one doesn't develop another musculature for support after using the weight. You can't say how much emotional turmoil will take. I was told by someone who knew her that the way Callas held her arms allowed her to push and create some kind of support. It wouldn't have been an issue if she were a Soubrette.The stuff that requires the most strength is what she was singing. After losing

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texts: 135 pounds, music critic Peter G. Davis wrote about Deborah Voigt and compared her voice to that of <mask>. <mask>'s technical problems are not showing up in Voigt's voice: Her voice continues to be supported and under control. There is a noticeable lack of quality at the very center of the instrument, together with a slight acidity and tightening of the tone that has taken the youthful bloom off. She explained how her weight loss affected her breathing and breath support. There isn't as much of me around now that I have a different body. The way my throat feels is unaffected by my diaphragm function.I have to think about it more now. I have to keep my ribs open. If my breath starts to stack, I have to remind myself. The weight would kick in when I took a breath. It doesn't do that now. If I don't remember to get rid of the old air and re-engage the muscles, the breath starts stacking, and that's when you can't get your phrase, you crack high notes. Callas attributed her problems to a loss of confidence, even though she did not make a connection between her weight and her breath support.In an April 1977 interview with journalist, she stated that her best recordings were made when she was skinny, not slim, because she worked a lot and couldn't gain weight back. When I was skinny as a nail, I had my greatest successes. The first time I was in Paris, I was skinny. Really skinny. <mask> talked to Peter Dragadze about her vocal problems, saying that she never lost her voice, but that she lost strength in her diaphragm. I lost my courage and boldness because of those organic complaints. Even though I have been to all the doctors, my sound boxes have not been working well.I overstrained my voice and that caused it to wobble. Whether <mask>'s vocal decline was due to ill health, early menopause, over-use and abuse of her voice, loss of breath-support, or weight loss will continue to be debated. Whatever the cause, her singing career was effectively over by the age of 40, and even at the time of her death at 53, Walter Legge said, "she ought still to have been singing magnificently". <mask> was very ill at the time of her death and INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals INRDeals According to their findings, presented at the University of Bologna in 2010, <mask> had dermatomyositis, a rare disease that causes a failure of the muscles and ligaments. She may have been showing signs of this disease as far back as the 1960s. The initial report by Mario Giacovazzo, who diagnosed Callas with dermatomyositis in 1975, was cited by Fussi and Paolillo.Inflammation and immunosuppressive agents affect heart function. At an event hosted by the journal Il Saggiatore Musicale, Fussi and Paolillo presented documentation showing when and how her voice changed. They used modern audio technology to analyze live Callas studio recordings from the 1950s through the 1970s. She was losing the top half of her range. <mask>'s posture seemed strained and weakened in the video recordings Fussi observed. She lost a lot of weight in 1954. Fussi and Paolillo looked at restored footage of the "walkout" in Rome, which led to harsh criticism of <mask>.She lacked control and her voice was tired as a result of the analysis. She claimed that she had bronchitis and  tracheitis, and that the dermatomyositis was causing her muscles to weaken. <mask>'s career was marked by a number of scandals. After a performance of Madama Butterfly in Chicago in 1955, <mask> was confronted by a process server who handed her papers about a lawsuit brought by a man who claimed to be her agent. <mask> had her mouth turned in a furious snarl. The myth of <mask> as a diva and a Tigress was created by the photo that was sent around the world. Time ran a damaging cover story about <mask> just before her debut at the Metropolitan Opera, with special attention paid to her difficult relationship with her mother and some unpleasant exchanges between the two.At the Edinburgh International Festival in 1957, <mask> was starring in La sonnambula. Due to the great success of the series, La Scala decided to put on a fifth performance. <mask> told the La Scala officials that she had already committed to a previous engagement, a party thrown for her by her friend, and that she was physically exhausted. There will be a fifth performance with <mask> billed as Amina. <mask> went to Venice. She was accused of walking out on the festival despite fulfilling her contract. The press was not told that the additional performance was not approved by <mask>.She started her international career after taking over the part. Italy's president, Giovanni Gronchi, was to attend the opening of the Rome Opera House season with <mask>. <mask> told the management that she was not well and that they should have a backup ready. "No one can double Callas," she was told. She decided to go ahead with the opera after she felt better on the day of the performance. <mask> sounded ill on the bootleg recording of the first act. She decided to cancel after the first act because she felt that she couldn't complete the performance.pandemonium broke out after she was accused of walking out on the president of Italy. <mask> was admitted to the hospital and the President's wife called to tell her she was sick. The endless stream of press coverage made the situation worse. The newsreel had a narration that said "Here she is in rehearsal, sounding perfectly healthy", followed by "If you want to hear Callas, don't get". She usually stays at the end of the rehearsals. After the Edinburgh incident, <mask>'s relationship with La Scala became strained, and this effectively severed her major ties with her artistic home. <mask> and Bing had a discussion about her season at the Met.She was supposed to perform in two very different operas, one of which requires completely different singers. Before the opening of Medea in Dallas, Bing sent a telegram to <mask> to end her contract because she couldn't reach an agreement with the Met. The headlines of "Bing Fires Callas" appeared in newspapers around the world. "That night, she came to the theater, looking like an empress: she wore an ermine thing that draped to the floor, and she had every piece of jewellery she ever owned," said Rescigno. She said, "You all know what's happened." I need the help of every one of you tonight, because it is a very difficult night for me. She gave a performance that was historical.Bing said that <mask> was the most difficult artist he had ever worked with. You can get around other artists. You couldn't get around. She knew what she wanted and why. Bing sneaked into La Scala in September 1959 to listen to <mask> record La Gioconda for EMI, despite his admiration for <mask>. <mask> and Bing reconciled in the mid 1960s, and <mask> returned to the Met for two performances of Tosca with her friend. In her final years as a singer, she sang in Paris, New York, and London, as well as her last performance on stage on July 5, 1965, at Covent Garden.A live television transmission of act 2 of the Covent Garden Tosca of 1964 was broadcast in Britain on February 9, 1964, giving a rare view of <mask> in performance. This is now on DVD. In 1969 the Italian filmmaker Pier Paolo Pasolini cast <mask> in her only non-operatic acting role, as the Greek mythological character of Medea, in his film by that name. According to the account in Ardoin's Callas, the Art and the Life, <mask> fainted after a day of running back and forth on a mudflat in the sun. As <mask>'s only film appearance, the film documents her stage presence. <mask> taught a series of master classes at the New York school. The basis of the 1995 play Master Class can be found in these classes.<mask> and Giuseppe Di Stefano performed together in Europe, the U.S., South Korea, and Japan in 1974. This was a musical disaster due to the worn out voices of the performers. The tour was a huge hit. The two performers had appeared together many times in their prime. Her last public performance was in Japan. While still married to Giovanni Battista Meneghini, <mask> was introduced to Greek shipping magnate Aristotle Onassis at a party given in her honor after a performance in Donizetti's Anna Bolena. <mask> left her husband in November 1959 after the affair received a lot of publicity.According to Michael Scott, Onassis was not sure why <mask> abandoned her career, but that he offered her a way out of a career that was made increasingly difficult by scandals and by vocal resources that were diminishing at an alarming rate. In 1963, Franco Zeffirelli asked <mask> why she hadn't practiced her singing, and she replied that she had been trying to fulfill her life as a woman. Nicholas Gage, <mask> and Onassis had a child who died hours after he was born, according to one of her biographers. Meneghini states in his book that <mask> was unable to have children. The birth certificates Gage used to prove he was a secret child were issued in 1998, twenty-one years after <mask>'s death, according to various sources. Other sources claim that <mask> had at least one abortion. <mask> gave up her U.S. citizenship at the American Embassy in Paris to end her marriage to Meneghini.She was only a Greek citizen after her renunciation, and under Greek law, a Greek could only marry in a Greek Orthodox church. She divorced her in Greece because she had married in a Roman Catholic church. She no longer had to pay taxes on her income as a result of the renunciation. The relationship ended in 1968. In her memoir, the Onassis family's private secretary, Kiki, writes that even while Aristotle was withJackie, he frequently met with <mask> in Paris, where they resumed their affair. <mask> died of a heart attack at the age of 53 on September 16, 1977. The funerary liturgy was held at St. Stephen's Greek Orthodox Cathedral in Paris.Her ashes were placed in the columbarium at the Pre Lachaise Cemetery after she was cremated. She wanted them to be scattered over the Aegean Sea off the coast of Greece in the spring of 1979. I was asked if it was worth it to <mask>. John Ardoin, <mask>'s friend, said that she was a lonely, unhappy, often difficult woman. There are times when there are people who are blessed and cursed with an extraordinary gift, in which the gift is almost greater than the human being. <mask> was one of them. It was almost as if her wishes, her life, her own happiness were all subservient to this incredible, incredible gift that she was given.I know that's why I admire her; I think that's why singers admire her. She paid a heavy price for her career. I don't think she understood why she did what she did. She knew she had an effect on people. It wasn't something that she could live with happily or gracefully. I once told her that she must be <mask>. It's terrible to be <mask>as, because it's a question of trying to understand something you can never really understand, she said.It was done by instinct because she couldn't explain what she did. According to several <mask> biographers, Vasso Devetzi, a female Greek pianist near the same age as <mask>, acted as her agent during her last years. In her 1990 book Sisters, Iakintha (Jackie) <mask> claims that the Maria Callas Foundation was created after hundreds of thousands of dollars were taken from her. In the play Master Class, <mask> is portrayed as a glamorous, commanding, larger-than-life, caustic, and funny pedagogue holding a voice master class. She retreats into recollections about the glories of her own life and career after being dismayed and impressed by the students who parade before her. The recollections play several selections of Callas singing. The R.E.M. mentions <mask>."E-Bow the Letter" was released as a single on August 27, 1996. She was featured in a Think different advertisement in 1997. Franco Zeffirelli produced and directed a movie in 2002. <mask> was played by Fanny Ardant in a fictionalized film. The last months of <mask>'s life were depicted when she lip-synced to her 1964 recording of Carmen. <mask> was awarded a Lifetime Achievement Award in 2007. She was voted the greatest Soprano of all time in the same year.The 10 Greek <mask> coin was created to commemorate the 30th anniversary of <mask>' death. The National emblem of Greece with her signature is depicted on the reverse of the coin. On the 85th anniversary of <mask>'s birth, a group of Greek and Italian officials unveiled a plaque in her honor at the Flower Hospital. The plaque reads "<mask> was born in this hospital on December 2, 1923." The halls heard the musical notes of her voice for the first time. To the great interpreter of the universal language of music. In 2012 <mask> was voted into the Hall of Fame.<mask> was named in her memory. The Minor Planet Center published the official naming citation. The documentary Maria by Callas depicts <mask>'s life and work in her own words, using her interviews, letters, and performances to tell her story. <mask> has been mentioned by a number of non-operatic singers as a great musical influence. Giselle's song "The Canary" from her debut album Not Ready to Grow Up is inspired by the relationship between <mask> and Onassis. The instrumental "Callas Went Away" was released by Enigma in 1990 and used samples of <mask>'s voice. The track has a sample of La bohme.<mask> in Concert was presented in the United States, Puerto Rico, Mexico, and Europe. The statue of <mask> at the base of the Acropolis in Athens was ridiculed in cartoons and generated a social media storm. Unless otherwise stated, all recordings are in mono. Live performances can be found on multiple labels. Warner Classics released the Maria Callas Remastered Edition, consisting of her complete studio recordings totaling 39 albums in a boxed set. Vittorio Gui conducted a live performance of Verdi, Nabucco, in December 1949. <mask> sings Verdi's original high D flat in her 1951 San Carlo performance.This was her only performance of the complete opera, as she never appeared on stage. Verdi, Un ballo in maschera, conducted by Antonino Votto, studio recording for EMI, September 1956. Cherubini, Médée, was recorded in the studio in September 1957 for Ricordi. In this performance, <mask> Rescigno. It is her only performance of the role and her only performance of the complete opera.The recitatives were added after Bizet's death. <mask>'s performance caused Harold C. Schonberg to wonder if he should have sung a different type of role. The studio recording of "Tosca" was done in December 1964. The studio recording for EMI was conducted byNicola Rescigno. The Greek Years is a book about the Unknown <mask>. The 14th issue of the opera biography series was published by Amadeus Press. Seletsky wrote "The Performance Practice of <mask>as: Interpretation and Instinct" in The Opera Quarterly.587–603. "Callas at EMI: Remastering and Perception", "A Callas Recording Update", and "A Callas Recording Update...updated" were written by Seletsky. pp. 243–265; 21/2 2005; pp. 389–389; 21/3, pp. There was a count of                             Maria: Callas Remembered was written by Stancioff. An intimate portrait of the private callas in New York.The Maria Callas Museum has public domain music

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